Fig. 225.—Misericorde, John Cray, 1380.
One of the peculiarities of the Camail and Jupon Period is the magnificent hip-belt, of far more elaborate workmanship and finish than in any preceding or following age. It generally consisted of raised square or oblong brooches, veritable triumphs of the goldsmith’s art, and occasionally studded with jewels, linked to each other to form a continuous band, and fastened in front by an enriched morse or clasp. At times roundels were used, and occasionally a running pattern in gold or embroidery. In the early figures it is shown with a buckle and a loop, a piece of pendent belt passing through and fastened like the Order of the Garter. A brass exemplifying very plainly the loop and buckle lies in St. Michael’s Church, St. Albans, and dates from c. 1370 ([Fig. 223a]). (It is remarkable for showing two tabs of leather or plate upon each shoulder, issuing from beneath the camail; we may have here a replica of the French fashion of epaulière at the period, which generally was encircled by tabs of cuir-bouilli.) See also [Fig. 218], Argentine, and Paletoot, [Fig. 224]. This seldom occurs upon late examples. The general method of wearing it was horizontally round the hips, but a few exceptions will be found upon searching the engraved figures. This fashion was copied by the ladies of the period, who wore hip-belts, showing beneath the super côte-hardi, of equal richness to their lords.
Fig. 226.—Shield, 1375.
The Sword was attached to the belt at the uppermost part of the scabbard, and hung perpendicularly at the left side. It generally had a wheel pommel and a swelling grip, with quillons either straight or drooping slightly towards the blade. The latter was about an inch and a half broad at the hilt, thirty inches in length, and tapered to the point, while the section was either of a flattened or a lozenge shape. It was double-edged, and had a grip of varying dimensions, ranging from four inches in length to an extent which, in some examples, almost suggest a two-handed weapon, or the hand-and-a-half or bastard sword of a later period (compare the d’Eresby and Felbrigge brasses). The pommel, grip, and scabbard were at times elaborately enriched with a profusion of ornament. A new weapon was introduced at this period, the misericorde or dagger of mercy, used for despatching a fallen foe whose wounds were beyond all surgical aid, in the combat à outrance, or in the field; or as a last resource for defence when other weapons had failed. It was a straight dagger with no guard as a rule, and having both the hilt and scabbard curiously ornamented; the blade had but one edge, the section being triangular. From its occurrence upon many monumental effigies, we gather that as a rule the misericorde was attached to the belt by a chain, but this feature is not as a rule shown upon brasses. The curious brass to Sir Ralph de Knevynton, however, exemplifies it, though the chains for attachment of both sword and misericorde are affixed to the breastplate (see [Fig. 204]). The misericorde of John Cray, 1380 ([Fig. 225]), shows it depending at an angle from the belt, while towards the close of the reign of King Richard II. the knights have the weapon slung hilt downwards to the front, though this curious fashion was soon discarded.
Fig. 227.—Shield, Hereford Cathedral, 1375.